In a recent survey by art industry analysts ArtTactic (condu
cted for art insurers Hiscox)\, 64% of contemporary art collectors reported
having made the decision to purchase an artwork from digital images before
actually seeing the artwork in person. While the survey’s report concedes\
, “Whether all areas of the art world will embrace online trading remains t
o be seen\,” the findings have nonetheless been interpreted in a wide varie
ty of ways: from “Contemporary art collectors are increasingly skipping the
first-hand physical experience of viewing art in galleries\, and buying ‘s
ight unseen’ through internet images” to “the online art trade will grow ex
ponentially within the next five years.”

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Winkleman Gallery is also
very excited about the reach that digital opportunities offer to promote ou
r artists outside the gallery space itself\, but we’re a bit skeptical that
the rise in the number of collectors who have purchased some art from JPEG
s indicates any dramatic impact for the future of “the physical experience.
” Rather\, we’re convinced the secret to success in the digital age lies in
finding the right balance between online presentations and those in person
. It is with finding that balance in mind\, as well as having a little summ
er fun\, that we present “Send Me the JPEG\,” a summer group show op
ening June 27\, 6-8 pm and running through August 2\, 2013.

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“Send M
e the JPEG” will showcase works from gallery artists\, including Cathy B
egien\, Janet Biggs\, Jimbo Blachly\, Jennifer Dalton\, Rory Donaldson\, Ch
ris Dorland\, Yevgeniy Fiks\, Joy Garnett\, Ulrich Gebert\, Shane Hope\, Gu
lnara Kasmalieva &amp\; Muratbek Djumaliev\, The Chadwicks\, Leslie Thornto
n and Andy Yoder. However\, no actual works of art will be on view. Rat
her digital images of the works will be displayed on large flat-screen moni
tors. The original artworks in the exhibition run the gamut\, from room-siz
ed installations to performance-based interventions\, from paintings to pri
nts\, from sculpture to photographs. Everything except video\, which ironic
ally most online channels are still struggling with.

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Obviously\, th
is is a fantasy group exhibition. We could never actually present all these
works in our space at the same time. The ability to “present” larger works
or more works than our physical space permits is one of the advantages of
online presentations. Among the limitations\, however\, is the ability to e
ffectively communicate an artist’s carefully considered\, site-determined d
ecisions\, or textures\, or the impact of scale\, or visual subtleties\, or
…etc. etc.

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In short\, “Send Me the JPEG” seeks to question what is
gained and what is lost in this new era of collecting. The increase in acce
ssibility and the flow of information has eliminated the formerly formidabl
e geographic obstacles that made it difficult to disseminate images and ide
as. An attendant rise in the amount of capital being devoted to the product
ion and display of contemporary art has made it possible for more artists t
han ever before to exist. These have to be seen as positive. By the same to
ken\, the basic relationship between viewer and object has been fractured.
Indeed\, in this new order\, the way a work looks in a photograph (even if
it is itself a photograph) trumps all other concerns\, which has affected w
hat is made\, as well as how it is contextualized. “Disruptive technology”
is well named\, and one must adapt. Ultimately\, though\, we trust that “Se
nd Me the JPEG” is an argument that there still is value in experiencing ne
w work in person.